Issue
No. 22

The Big Picture

Beginning in the 1920s, Julian Graham used his camera to capture the good life at California’s posh Pebble Beach resort—playground for the rich and famous. Graham was eventually joined by William C. Brooks, and the two went on to assemble a rare visual record of Americana that spans five decades. Richard Pitnick takes a look at the collection they left behind.

Howard Schatz

Possessed by an enduring passion for depicting the human form, he has explored its creative possibilities in numerous books. We shine the spotlight on some of his most sublime efforts, revealing a sure eye and technical virtuosity, as well as a willingness to take risks.

Horace Bristol

For a photographer who never thought of himself as an artist, in the course of his long career he created a body of work that measures up to fine art scrutiny.

Philip Perkis

He first picked up a camera while serving as a tail gunner in the U.S. Air Force, but his baptism of fire came in San Francisco’s Beat Generation. After studies with Ansel Adams and Minor White, he moved to New York and a career as photographer and teacher. He feels art in photography is found in the tension between abstraction and description.

Brad Temkin

For the past eight years he has criss-crossed the South in search of the common man: while most photographer’s pictures are taken, his are given.

Stephen Salvatore

He roams the back streets and alleyways of New York City and Brooklyn, waiting for something to catch his eye.

Joel Pickford

The decaying grandeur of the Old South—a place where time moves slower than in the rest of the country—is his subject.

Robert George

A street photographer at heart, he searches for images that are charged with human presence.

Mark Eschbaugh

Using a variety of specially modified cameras that simultaneously hold and expose multiple rolls of film, he conjures dreamlike worlds where reality becomes what he and the “third” eye choose.

Eric Anthony Johnson

Suggesting that the spoken and written language is far too concrete, and likening photography to a pre-language form of communication, like primitive art, he claims that he in his minds eye never sees words but only images.

Vega McVeagh

Forty years ago, she had a job as photographer aboard a cruise ship. We feature a handful of her nostalgic images from Nassau.